女性批评与批评女性——清代闺秀的诗论

清代闺秀的诗论,是中国文学批评史研究的一个盲点。而女性诗论和论女性诗,是清代文学批评富有特色的新内容。此期女性在明清思潮的影响下,采用重释儒家文化的策略,突破女子无才便是德观念的束缚,确证闺秀诗歌的合法性,张扬女子创作的积极意义。而我们也应看到,清代女性诗论的一个独特现象,是依然羁縻于四德之下,以德正才,敛才以合德;论诗高标合乎风人之旨、温柔敦厚等原则,尊奉儒家诗教,体现出比男性论者更为严格的道德自律性。尽管一些女性论者参与了清代主流诗学关于性灵和学问等核心问题的讨论,但较为普遍地存在着对脂粉气的有意规避,体现出在主流诗学中,女性的身份特征是遭否定的,女性论者的意识中也存在自我身份否定的现象。在晚近时期,这一现象出现转机。     

从《到灯塔去》看伍尔夫创作中女性气质的认同意识

从弗吉尼亚·伍尔夫的代表作《到灯塔去》入手,通过文本解读的方法探视她的新女性主义价值观。从三个方面揭示出在古老强势的父权文化语境下,女性要取得真正的独立自主,必须依靠其自身内在的气质——女性气质的张扬,来实现自身的精神突围。弗吉尼亚·伍尔夫通过对拉姆齐夫人的赞扬和肯定,呼唤女性气质的回归。     

科举视域下的状元与女性--以宋元南戏为中心

女性在科举社会中扮演着重要角色,宋元南戏就较好地反映了女性与状元的关系。在科举考试之前,女性们为士子筹集赶考的盘缠;士子进京之后,她们又必须肩负照顾家庭的重任,以及承受分离之苦。如果士子能够高中状元,她们也能得到应有的封赠。宋元南戏明显地突出女性的作用以及状元的身份,寄托了元代知识分子试图改变社会地位的愿望。     

Women Behaving Badly: Female Speakers Backstage

In this paper I explore women's (and girls') self-presentation in contexts where they seem most relaxed, most off-record, drawing on Goffman's concept of 'backstage'. In particular, I shall focus on those aspects of women's backstage performance of self which do not fit prevailing norms of femininity, in other words, women's performances of 'not-nice' selves, as well as reports of – and fantasies about – behaving 'badly'. The analysis will draw on a corpus of spontaneous conversation involving girl and women friends. It will be argued that the backstage talk possible only with close friends provides women with an arena where norms can be subverted and challenged and alternative selves explored. But it also needs to be acknowledged that in an important sense such talk helps to maintain the heteropatriarchal order, by providing an outlet for the frustrations of frontstage performance.     

Are You the One? China's TV Dating Shows and the Sheng Nü's Predicament

This study looks into TV dating shows in post-millennial China. These widespread shows, exemplified by Fei Cheng Wu Rao (translated, by both local and global media, as If You Are the One), open up an ongoing social forum, which, to varying extents, enables self-articulations and renegotiations of class and gender identities and gives voice to selected female participants of the media. Through the lens of critical discourse analysis, the paper focuses on analyzing the stage arrangements and hidden rules of Fei Cheng Wu Rao, female participants' self-introductions, both male and female participants' depictions of their “ideal” spouse, and the remarks of the host and the two expert commentators. The study argues that these dating shows play upon the predicament of Chinese single women, especially those labeled as “sheng nü” (“leftover women”), who strive for upward social mobility, yet are constrained within the new gender mandate of a market economy. Stigmatizing single womanhood, the dating shows also grant a glimpse of the varied ways the media and women participants play a complicit role in reducing women's potential to resist new forms of male privilege in post-socialist China.     

Respectable Femininity and Career Agency: Exploring Paradoxical Imperatives

This paper places respectable femininity at the very centre of career enactment. In the accounts of 24 Sri Lankan women, notions of being a ‘respectable’ woman recurred as respondents described how important it was to adhere to the powerful behavioural norms for women in their organizations and society. However while such respectability was vital for women's career progression, it ultimately restricted their agency and conflicted with other requirements for advancement. Based on our empirical findings, we propose that being a respectable woman was experienced as paradox, where at times it was seen as impossible to be both a good woman and a successful careerist. We highlight the implications of our findings for women's careers in South Asia and more widely.     

Not “Simply the Breast”

Two prominent media events involving breastfeeding celebrities prompted unprecedented transnational media attention to their bodies, their breastfeeding practices, and their beliefs about the act of breastfeeding. This study critically analyzes media representations of Salma Hayek and Angelina Jolie that feature (or imply) a nursing celebrity breast to argue that discourses about celebrity breastfeeding are a semiotically potent phenomenon that destabilize boundaries of public and private, perpetuate normative beauty standards, and prescribe proper breastfeeding practices to audiences. The transnational celebrity of Jolie, Hayek, and others makes analyzing media discourses of their breastfeeding particularly necessary because they are prominent purveyors of femininity and have made activism about women's health a key aspect of their public personae.     

论李清照文学作品中的女性本体意识

在男权文化语境中,作为女性作家,李清照以卓越才华和敏锐的审美感受,把女性深切的内在情感和她那不受压抑的生命状态化入诗词中,传达出浓厚的迥异于时代的女性本体意识。该文从崇尚格高淡雅的主体意识、吟唱至情至爱的生命意识和追求女性价值的忧患意识三方面入手,多角度、多层面、多元素地展现一个封建知识女性实现人生价值的独特风采。     

《红楼梦》中女性的自杀与自相残杀初探

《红楼梦》是中国古典章回小说的巅峰之作，其中描述了各种类型的女性的死亡。本文着重阐释主子、奴才的自杀与自相残杀，并对其死亡原因进行初探。